La Stravaganza
Antonio Vivaldi (1678–1741)
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La Stravaganza, op. 4
La Stravaganza, op. 4 (1714) – zbiór 12 koncertów, które skomponował Antonio Vivaldi (1678–1741) w 1714 roku, wśród których jeden to typowe concerto grosso, cztery – to koncerty na dwoje skrzypiec, zaś pozostałych 7 – to koncerty solowe.
Lista koncertów
La Stravaganza składa się z następujących dwunastu utworów[1]:
Koncert nr 1 B-dur RV 383a:
- Allegro
- Largo e cantabile
- Allegro
Koncert nr 2 e-moll RV 279:
- Allegro
- Largo
- Allegro
Koncert nr 3 G-dur RV 301:
- Allegro
- Largo
- Allegro assai
Koncert nr 4 a-moll RV 357:
- Allegro
- Grave e sempre piano
- Allegro
Koncert nr 5 A-dur RV 347:
- Allegro
- Largo
- Allegro (moderato)
Koncert nr 6 g-moll RV 316a:
- Allegro
- Largo
- Allegro
Koncert nr 7 C-dur RV 185:
- Largo
- Allegro (molto)
- Largo
- Allegro
Koncert nr 8 d-moll RV 249:
- Allegro
- Adagio – Presto – Adagio
- Allegro
Koncert nr 9 F-dur RV 284:
- Allegro
- Largo
- Allegro
Koncert nr 10 c-moll RV 196:
- Spiritoso
- Adagio
- Allegro
Koncert nr 11 D-dur RV 204:
- Allegro
- Largo
- Allegro assai
Koncert nr 12 G-dur RV 298:
- Spiritoso e non presto
- Largo
- Allegro
Przypisy
- ↑ Vivaldi: La Stravaganza, 12 Violin Concertos Op.4 - Brilliant Classics, www.brilliantclassics.com [dostęp 2021-06-24] (niderl.).
Media użyte na tej stronie
Titelpagina van 'La Stravaganza' La Stravaganza, concerti consacrati a sua eccellenza il sig. Vettor Delfino da D. Antonio Vivaldi opera quarta, libro primo (titel op object), RP-P-2016-1496-2.jpg
Autor: Rijksmuseum, Licencja: CC0
Identificatie
Titel(s): Titelpagina van 'La Stravaganza'La Stravaganza, concerti consacrati a sua eccellenza il sig. Vettor Delfino (...) da D. Antonio Vivaldi (...) opera quarta, libro primo (titel op object)
Objecttype: titelpagina
Objectnummer: RP-P-2016-1496-2
Opschriften / Merken: verzamelaarsmerk, verso, gestempeld: Lugt 2228verzamelaarsmerk, verso, gestempeld: Lugt 2760
Omschrijving: Gegraveerde titelpagina voor: La Stravaganza, concerti consacrati a sua eccellenza il sig. Vettor Delfino (...) da D. Antonio Vivaldi (...) opera quarta, libro primo. Rechtsonder genummerd: No. 399.
Vervaardiging
Vervaardiger: prentmaker: François Morellon La Caveuitgever: Estienne Rogeruitgever: Michel-Charles Le Cène
Plaats vervaardiging: Amsterdam
Datering: 1725
Fysieke kenmerken: gravure
Materiaal: papier
Techniek: graveren (drukprocedé)
Afmetingen: plaatrand: h 245 mm × b 179 mmblad: h 305 mm × b 225 mm
Onderwerp
Wie: Antonio Vivaldi
Verwerving en rechten
Credit line: Aankoop uit het F.G. Waller-Fonds
Verwerving: aankoop 27-okt-2016
Copyright: Publiek domein
Autor: Rijksmuseum, Licencja: CC0
Identificatie
Titel(s): Titelpagina van 'La Stravaganza'La Stravaganza, concerti consacrati a sua eccellenza il sig. Vettor Delfino (...) da D. Antonio Vivaldi (...) opera quarta, libro primo (titel op object)
Objecttype: titelpagina
Objectnummer: RP-P-2016-1496-2
Opschriften / Merken: verzamelaarsmerk, verso, gestempeld: Lugt 2228verzamelaarsmerk, verso, gestempeld: Lugt 2760
Omschrijving: Gegraveerde titelpagina voor: La Stravaganza, concerti consacrati a sua eccellenza il sig. Vettor Delfino (...) da D. Antonio Vivaldi (...) opera quarta, libro primo. Rechtsonder genummerd: No. 399.
Vervaardiging
Vervaardiger: prentmaker: François Morellon La Caveuitgever: Estienne Rogeruitgever: Michel-Charles Le Cène
Plaats vervaardiging: Amsterdam
Datering: 1725
Fysieke kenmerken: gravure
Materiaal: papier
Techniek: graveren (drukprocedé)
Afmetingen: plaatrand: h 245 mm × b 179 mmblad: h 305 mm × b 225 mm
Onderwerp
Wie: Antonio Vivaldi
Verwerving en rechten
Credit line: Aankoop uit het F.G. Waller-Fonds
Verwerving: aankoop 27-okt-2016
Copyright: Publiek domein
Vivaldi.jpg
"An anonymous portrait in oils in the Museo Internazionale e Biblioteca della Musica di Bologna is generally believed to be of Vivaldi and may be linked to the Morellon La Cave engraving, which appears to be a modified mirror reflection of it. It is striking how the engraving and the painting 'secularize' Vivaldi: they contain no hint of his identity as a priest. (The fashionable, though slightly informal, dress and self-confident attitude of the composer resemble very closely those of Telemann in the well-known engraving by Georg Lichtensteger.) Ghezzi's sketch likewise shows Vivaldi in a non-clerical black stock as opposed to the white clerical stock and still wearing a wig. (Two years later, in the anno santo of 1725, Innocent XIII was to ban the wearing of wigs by priests.) There is disagreement over whether the hint of red showing in front of the centre of the composer's wig in the painting is a sly reference to his famous hair-colour or simply an unpainted part of the canvas. Whatever the case, it is not out of place to observe that, contrary to the belief of many modern illustrators, Vivaldi's wigs were never coloured red." Michael Talbot, The Vivaldi Compendium (2011), p. 148. The proposition that the painting actually depicts Antonio Vivaldi has been questioned by some sources (e.g. by Groves dictionary).
"An anonymous portrait in oils in the Museo Internazionale e Biblioteca della Musica di Bologna is generally believed to be of Vivaldi and may be linked to the Morellon La Cave engraving, which appears to be a modified mirror reflection of it. It is striking how the engraving and the painting 'secularize' Vivaldi: they contain no hint of his identity as a priest. (The fashionable, though slightly informal, dress and self-confident attitude of the composer resemble very closely those of Telemann in the well-known engraving by Georg Lichtensteger.) Ghezzi's sketch likewise shows Vivaldi in a non-clerical black stock as opposed to the white clerical stock and still wearing a wig. (Two years later, in the anno santo of 1725, Innocent XIII was to ban the wearing of wigs by priests.) There is disagreement over whether the hint of red showing in front of the centre of the composer's wig in the painting is a sly reference to his famous hair-colour or simply an unpainted part of the canvas. Whatever the case, it is not out of place to observe that, contrary to the belief of many modern illustrators, Vivaldi's wigs were never coloured red." Michael Talbot, The Vivaldi Compendium (2011), p. 148. The proposition that the painting actually depicts Antonio Vivaldi has been questioned by some sources (e.g. by Groves dictionary).
